Holocenia #1- Oil on Linen -36”x46” - 2016 - $4,000

An abysmal abandoned interior- dreamlike in the absence of ceiling or floor. This is the distant future and all that remains of Holocenia are ghostly shadows and memories of family, nature and home now shrouded in dusty plastic as if put in storage. This is the only painting in this collection that features a tiny self- portrait of the artist and also of her mother.

This Was Home - Oil on Linen - 36”x46” - 2016 -  $4,000

Pictures of domestic remains of the Chernobyl Nuclear Disaster inspired this triple- layer painting of warm golden daylight obstructed by a bleak gray abandoned room and a wave of oily water washing it all away. Fingerprints wipe away the shape of a chandelier to reveal the warm glow beneath.

Holocenia #2 - Oil on Linen - 36”x46” - 2016 - $4,000

To create this piece I began by painting a lush field of flowers, letting it dry and then painting  over it a translucent semblance of a room with an eerily humanoid draped object in the middle. The floral background underneath is revealed in the desperately clawing handprints in the lower painting and in the simple window and flower vase wiped away on either side.

Sunflowers - Oil on Linen - 24”x30” - 2016 - sold

This is a dreamscape in which cheap plastic solar light flowers stand in for a moon or sun

Look Out, Look Back, Look Through - Oil on Linen - 24”x30” - 2016 - $1,500

Dioramas at the Natural History Museum are always in the back of my mind as a metaphor for nature on display for the sake of entertainment and education. This is a surreal representation of children peering through dirty smudged glass at their own future and history simultaneously

This Was a Day to Remember - Oil on Linen - 49”x38” - 2016 - $4,000

When I reflect on the best days of my life the memories are often free of words and actions and instead come in the form of light and color and maybe the sensation of the perfect gentle breeze on my skin. The memory looks and feels kind of like the golden landscape peeking from behind this obstructive plastic film. Upon close observation one sees that curious hands have tried to wipe away rudimentary drawings in the dust as one might find the windows of an abandoned house decorated in the graffiti of children’s fingerprints trying to get a look into someone’s past.

Confirmed Belief #1 - Oil on Linen - 24”x30” - 2016 - $1,500

Both of these chandelier paintings are interpretations of a thing becoming a truth through human cognition. The manmade candelabra sheds light on a grainy abstract image and then is encircled to indicate that it is important.

Confirmed Belief #2 - Oil on Linen - 24”x30” - 2016 - $1,500

Both of these chandelier paintings are interpretations of a thing becoming a truth through human cognition. The manmade candelabra sheds light on a grainy abstract image and then is encircled to indicate that it is important.

Plastic Horses in an Oil Spill - Oil on Linen - 20”x16” - 2016 - sold

These plastic horses were inspired by pictures in National Geographic of what remains of domestic interiors in Chernobyl.



This is a Flying Saucer- Oil on Linen - 20”x16” - 2016 - sold

The concept of abstraction becoming solidified through human interpretation is reflected in this canny depiction of a flying saucer for which I actually used an upside-down kitchen saucer as a model. The grainy black and white caption in the left corner references early images of UFOs and outer space in which the observer really can’t make out any distinctly unusual object until it is circled and deemed a certain thing in the caption. This is also an allusion to the Dadaist reexamination of common objects and the ability of the artist to claim a thin to be or not to be art at his will.

Wave Function - Oil on Linen - 20”x16” - 2016 - On Hold

The role of the conscious observer is a subtext to the show’s theme of a post- human world. A key concept in quantum theory is that particles, and consequently matter, exist in a state of superposition – in multiple states, in multiple places- until observed. I like this concept as a metaphor for human domination and for art. All things are abstract and fluid until a conscious being deems its importance and solidifies its existence.


King and Queen of Scorched Earthland - Oil on Linen - 30”x40” - 2016 - $3,000

Crowns and monarchs are featured in several paintings to symbolize the seemingly innate human need to claim ownership of people and property even if the property is destroyed and rendered useless in the process. In the background of this painting is a scorched landscape haunted by spirits.

 Holocenia is an invented word derived from Holocene-  the geological era during which humans developed the cognitive and social behaviors that lead to civilization as we know it. This body of work is a meditation on the human legend seen through the eyes of a future being discovering a post- anthropic world. In a modern- surrealist style memories of life on earth are shrouded in draped plastic and left to collect dust over millennia in bleak warehouse settings. Though humans are nowhere to be found in Holocenia there is evidence of conscious intervention hidden in each painting. Handprints and rudimentary finger drawings wipe away dust and push aside the plastic membrane to reveal the splendor of light, life, and human memories. Humanoid shadows traverse the backgrounds and foregrounds and here and there grainy telescopic astrological images and microscopic flora remind us of the mark humans have left on other worlds and the way we filter the meaning of those worlds through our terrestrial understanding of existence.
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Vaults of the Firmament - oil on linen - 30”x38” - 2016 - $3,500

This painting was specially made for an exhibition in Berkeley, California titled “Encyclical”, based on Pope Francis’ address to the world about the importance of environmental protection. In “Vaults of the Firmament”, a dusty plastic sheet shrouds a surreal nature scene with a field below and a star-scape above. Handprints have desperately wiped away clearings in the film to reveal the cosmic splendor long obscured by anthropocentrism. The immediate foreground is a breaking of “the fourth wall”, the cold beaten stage upon which our story plays out- the floor of an abandoned warehouse  where our memories were covered and stored. On the floor lie scattered human interpretations of nature in the form of a lifeless plucked flower and rudimentary star drawings. The title of this piece is inspired by the idea in Biblical Cosmology of the “Seven Vaults of the Firmament”. Although usually depicted in Medieval art as shell- like layers over the earth, this beautiful phrase, for me, conjured visions of a vaulted cathedral built of stars. In this painting, the handprints wipe away the dusty film in the form of a towering cathedral.